在礦物顏料與東方古老筆觸的層層疊加下，台灣藝術家曾建穎幻化出一尊尊豐腴且閃耀的肉身，那光芒彷彿是從內在透射出的深夜霓虹——將敦煌壁畫、拜占庭聖像與佛教藝術的聖潔傳統，與當代慾望及不安的原始脈動揉合為一。

In the luminous layers of mineral pigments and ancient Eastern brushwork, Taiwanese artist Tseng Chien-Ying (曾建穎) conjures fleshy, glowing figures that radiate nightclub neon from within — blending sacred traditions from Dunhuang murals, Byzantine icons, and Buddhist art with the raw pulse of modern desire and unease.

1987 年出生於台灣南投的曾建穎，是一位極具才華的當代藝術家。他在 2009 年與 2013 年分別取得國立臺灣師範大學的美術學士及國立臺北藝術大學的美術碩士學位，隨後移居台北創作至今。曾建穎的藝術成就早已備受認可：他曾於 2015 年獲選文化部「MIT 新人推薦特區」，2017 年獲得亞洲文化協會（Asian Cultural Council）獎助金，更在 2020 年以裝幀設計入圍第 31 屆金曲獎（Golden Melody Awards）。近年來，他透過「禽獸不如—2020 台灣美術雙年展」（Worse Than Beasts—Taiwan Biennial）及「光合作用 II」（Photosynthesis II, 2019）等重要展覽，展現出日益增長的藝術影響力。

Tseng Chien-Ying (曾建穎), a talented Taiwanese artist born in 1987 in Nantou, brings a fresh blend of ancient Eastern traditions and modern life to his work. After earning his BFA from National Taiwan Normal University in 2009 and MFA from Taipei National University of the Arts in 2013, he settled in Taipei. His achievements include the Ministry of Culture MIT New Artist Zone award in 2015, an Asian Cultural Council fellowship in 2017, and a nomination for the 31st Golden Melody Awards packaging design in 2020. Notable shows like “Worse Than Beasts—Taiwan Biennial” (2020) and “Photosynthesis II” (2019) highlight his rising presence in the art world.

曾建穎的創作深植於古典根基，卻流露出一股現代靈魂。他擅長運用水墨、膠彩及陶瓷等媒材，其中許多技法更是他在正統學院訓練之外，憑著鑽研精神自學而成的。他將佛教與道教藝術、犍陀羅風格、拜占庭聖像畫及敦煌石窟壁畫的精髓融入當代創作，熟練地運用白描、暈染，以及增加畫面質感的「盛上」（堆疊）技法，營造出深邃且具光澤的層次。這些創作過程極其考驗耐心與體力。透過日本水干顏料的層層賦色，他在筆下的人物中淬煉出一種迷幻、宛如夜店霓虹燈火般的色澤，那種光芒彷彿是從角色內在透射而出的，令人著迷。

Drawing from classical techniques, Tseng skillfully uses materials like water-based ink, glue colors, and ceramics—many self-taught beyond formal training. He revives methods from Buddhist and Taoist art, Gandhara styles, Byzantine icons, and Dunhuang murals, such as white-line drawing, blurring effects, and layering pigments for rich texture and glowing depth. These patient, physically demanding processes create mesmerizing, psychedelic shines reminiscent of nightclub lights emanating from his inner figures, often with Japanese water-dry pigments.

曾建穎的藝術風格巧妙地融合了東方繪畫的嚴謹與西方美學的感官張力。他筆下的人物細膩而充滿肉慾感，卻常被置於荒謬或陰鬱的背景中，讓人聯想起當代版本的漢磚畫拓片。他的美學在極致考究的工藝與殘酷、虛無及社會摩擦等粗獷主題之間取得了微妙平衡。透過描繪那些充滿「肉感」卻又具備靈性的軀體，他揭示了潛藏於現代生活中的隱性暴力。這些作品不僅充滿生命力，更帶有一種迫切的現實感。

Tseng’s style beautifully merges Eastern painting’s precision with Western influences, producing detailed, sensual figures set against absurdity and shadow—evoking Han brick rubbings in a uniquely contemporary way. His aesthetic balances meticulous craftsmanship with raw themes of cruelty, nihilism, and social friction, shining a light on hidden violence through fleshy, spiritual bodies that feel alive and urgent.

在 “Instanimals / 社畜態” 等系列作品中，曾建穎敏銳地捕捉了現代上班族如機械般掙扎的生存狀態。他深入探討了政治壓力、歷史對個人的重壓，以及非典型範式下的酷兒經驗。他的作品遊走於心理不安、社會怪象、城市夜生活與存在主義的陰暗面之間。藉由重新詮釋宗教肖像，他對當下的人類生存境況提出了既個人化又具時代感的批判，讓觀者在作品的陰影中照見真實。

Through series like “Instanimals / 社畜態,” which captures the drone-like struggles of modern corporate life, Tseng explores political pressures, historical burdens on individuals, and queer experiences beyond norms. His work delves into mental unease, societal oddities, urban nightlife, and existential shadows, repurposing religious iconography to critique today’s human condition in a way that feels both personal and timely.

圖片提供：藝術家｜Courtesy of the Artist